thank you for the kind comments! ~Steven (Nirosta)

Garage, Indie, post-hipster/ anti-alternative / nu-underground / wah wah wah

Unreleased song from their compilation "Macrochips & Microdips",
out on August 28th.

PRE ORDER:
http://biglove.bigcartel.com/product/the-samps-macrochips-microdips

BIGLOVE054 THE SAMPS "Macrochips & Microdips"

1. Gusto [unreleased] 
2. F.X.N.C. 
3. Twice High 
4. Thys 
5. Train's Coming (Edit) 
6. Hyperbolic 
7. Cosmic Bacon 
8. Wizard's Sleeve 
9. Peppergood 
10. Where You From 
11. Yellowjacket 
12. Plans 
13. Frail Life [unreleased] 
14. Overnight Lo [unreleased]

The SAMPS "Overnight Lo"

Fallen Mango (C.A.R. edit) - Slow Machete
So Low - Carol
Bubble Gun - Anna Meredith
Champagne - Easter
Lost Summer - Whitey
Heartbeats - Joakim
The Biggest Eyes in The World - Fairmont
Blue Lips - Passarella Death Squad
The Season - Ela Orleans
Spanish Song - Seftel
Born to Lie - Les Volumes Courbes
Seabird - Alessi Brothers
Tunan - Mammane Sani et Son Orgue
Feverish (ISE8 Pre-Demo) - Battant

C.A.R. - back to school mixtape

((tracklist))
intro
C-Nyle "Straight Natural"
Dirty Mack "Chill"
The Product (Budwyser & Darace) "Bitches & Cops"
California's Most Wanted "Death Kiss"
Jonathan Brown Jubwa Nation "Mood Control"
intermission
E-Luv "Black Undaground"
Hev Dog N Folks (Southern Bred Hogs) "Voices In My Head"
Pimpville "Pimpvillin"
Iroc "Saturday Night"
intermission
MC Xtc "Strawberry Park"
Homicide "Sex Drive" (demo version)
Pimpville "M-F-B-G-D-A-H"
EBH East Bay Hustlers "Daddies In A Hurst"
Heavyweight "Ya Playin' Hard Right Right"
Sonnyea "If I Could Turn Back The Hands Of Time"
outro

NASTY GAME (Mix)

"World Psychedelic Classics 5: Who is William Onyeabor?" is out now on Luaka Bop.

Be "Smooth & Good" and support Mr. Onyeabor at www.williamonyeabor.com, on iTunes http://georiot.co/1uDa or Amazon http://smarturl.it/onyeabor

Follow on facebook at https://www.facebook.com/WilliamOnyeabor

William Onyeabor's "Good Name" by Joakim feat. Akwetey (Dragons of Zynth)

Track taken from Lorelle Meets The Obsolete's third album, 'Chambers', which is released via Sonic Cathedral and Captcha Records on February 17, 2014.

Lorelle Meets The Obsolete 'Music For Dozens'

Written, performed, recorded and mixed by Fazerdaze

Reel

Produced by Amelia Murray with help from Jonathan Pearce
Mastered by Jonathan Pearce

Somethink

From the upcoming album Bad News Boys. Out February 2015!

The King Khan & BBQ Show - Alone Again

Vocals by LAID BACK

Out on HFN Music
The package includes remixes by Still Going, Adana Twins and Tambien.

Released by: HFN Music 
Release/catalogue number: HFN021 
Release Date: 15th October 2012

12" Limited Vinyl: 
Decks: http://bit.ly/Rnu32G 
Juno Records: http://bit.ly/RwbKY5
Phonica: http://www.phonicarecords.com/product/view/110047

LOVEFINGERS: "Really fucking dope!
LEE DOUGLAS: "This shit is good"
MUZZLE FLASH: "Tambien Remix is stellar will play for sure!"
TENSNAKE: "Great remix!"
SHOW B: "Awesome Tambien remix!"
JOSH WINK: "Unique release!"
KAOS: "Dope love this!"
MUNK: "I say YES!"

KASPER BJORKE "Bohemian Soul" (TAMBIEN REMIX) (snippet)

SUZANNE KRAFT- No Worries (Secret Circuit's Professional Gold Remix)

Cos/Mes - Like A Virgin Point (Dr Dunks Shredding)

Engineered by Bob Blank
Produced & mixed by Arthur Russell

Steven Hall: guitar/keyboard/vocals
Arthur Russell: drum programming/cello/vocals

Recorded in 1985
Released in 2013 by Hollie Records

Produced & mixed by Arthur Russell (he also plays on them) and engineered by Bob Blank in 1985, these three songs were found in Arthur’s archive, and digitally transferred by Audika Records. They were made for Steven Hall solo project for Rough Trade but never released.

Here is the story of these lost tracks by Bob Blank

“After I moved my production and engineering work from my recently sold Blank Tapes to my old farmhouse in Stamford, Connecticut, some of my first guests were Arthur Russell and Steven Hall, who continued their musical journey by bringing their music to my converted home.

It was strange to see these denizens of the city in my bucolic setting – the music always had a folkie, country feel to it, but was always edged with the city feelings. I picked them up and dropped them off at the small train station about a mile from the house, and recorded onto either my old Studer A80 24 track analog machine or later into the then state of the art Alesis digital machines. The studios all had windows in them, overlooking the nearby woods and wetlands.

Arthur was, as usual, the ringleader who set the mood, always either encouraging or playing. Steven got into ‘the zone’ with sometimes closed eyes and a gentle way with the music; Arthur was the collector of takes and many times after the sessions with Steven I would hear the music go through many permutations as Arthur added ideas and what are now called ‘beats’ to the song fragments and parts laid down. Never satisfied, Arthur would continually run a DAT tape as he worked, capturing hours of attempts to mold the music. Steven was a muse sometimes for Arthur as well, as Steven gave substance to the energy that Arthur put into the music.

Steven came with fully formed musical ideas and songs, and easily performed them in the glassed in booth. Mellow but focused, the music came out in whole pieces.

My role was always to make the flow happen, with the technology, and the place was dominated by the custom built console I had built from Yamaha digital mixers and monitoring from UREI 813 speakers I had sitting on stands in the attic of my old home. As an engineer, you try to fade into the background and let the musical events take the forefront, but I was always able to add my ideas and feelings to the day, as my sounds, mixes, and comments shaped how everyone heard what they were creating. Arthur and Steven always welcomed my input, even tho from time to time it was tinged with attitude, and I would be satisfied with the result while Arthur would push past that and ask for more. Ultimately Steven and Arthur’s vision would prevail of course and there were many magic moments.” 

Nirosta Steel - Every Single Night

It all started with a fan letter…

“Hey Peter, just noticed you on a Rhys Chatham link. Just want to say I adore your work, I had a release on DFA recently, and they sent me some of your releases you did with Jonathan - so brilliant! I’ve had “Condo” track for a while, this completely catches my personality and when I feel disillusioned or need comfort, I always put this on, and it makes me feel good and strong.....i will stop gushing now! Thank you!

Nik Colk Void x”

This was Peter’s reaction…

“I was quite flattered and was glad that ‘Condo’, one of my lesser-know tracks, was being appreciated. (I was also curious, because the most-viewed clip of ‘Condo’ on Youtube is actually a slowed down version: someone played the 12” 45rpm EP at 33 rpm. The result, however, is quite beautiful.)

I responded, said I hoped we could meet the next time I am in London, and Nik then suggested that she had a track that she was working on, and would I like to listen to it and possibly collaborate. I am always game for a new challenge, so I said sure and Nik sent an mp3.

I was immediately struck by the haunting and evocative nature of the track, the analog synths feeling fresh and familiar at the same time, the vocals having a primal quality of breath and phrasing. I loaded the track into Ableton and instinctively began recording some overdubs. I used analog (Prophet 5) and digital (Moog iPad) synths and a soprano saxophone. I then sent a mix to Nik.

Nik responded quite positively, and over the next few weeks we exchanged files back and forth, experimenting with different mixes and submixes. After a couple of dozen rough mixes, accompanied by email discussions among the three of us (Gabe had entered the process after the first few exchanges,) we settled on a final mix. Shortly after we had a final mix, I synchronized the track with a video that my partner Kit Fitzgerald was working on. This long extended shot fit the music perfectly, and we had a video for ‘Beachcombing’. (A still from this video serves as the artwork for the 12”.)

Initially, there was going to be a one-sided 12”, with ‘Beachcombing’ the only track. Nik then wrote to me that Dominic was also interested in working on a track, and would I be interested in working on a B-side with Dom. Of course, I readily agreed, and I received an mp3 of synth tracks. As previously, I began building up tracks, using the alto sax (rather than the sopranino used on Beachcombing) and the addition of a vintage Korg vocoder.

Once again, a series of file exchanges of mixes, submixes and discreet tracks ensued, and we finally settled on mix #26a. There is kind of a sweet quality which surprised the both of us.”

The result is before you now and forthcoming on Optimo Music. Modern collaborations with magical results!

www.optimomusic.com

Peter Gordon and Factory Floor - Beachcombing

I make a variety of noises, and listen to many more.
There are also many old demos, collaborations and various recordings available, mostly for family and friends.

Nirosta Steel - Every Single Night

Hollie Records

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